Castor and Pollux are called sometimes Dioscuri (sons of Jove), sometimes Tyndaridæ (sons of Tyndareus). Helen is frequently called Tyndaris, daughter of Tyndareus.

(4) Descent of Ulysses and Penelope

§ 166. C. S. Calverley's The Sons of Leda, from Theocritus. Leda:
Spenser, Prothalamion; Landor, Loss of Memory.

§ 167. On the Iliad and on Troy: Keats, Sonnet on Chapman's Homer;
Milton, P. L. 1:578; 9:16; Il Pens. 100; Hartley Coleridge, Sonnet on
Homer; T. B. Aldrich, Pillared Arch and Sculptured Tower; the Sonnets of
Lang and Myers prefixed to Lang, Myers, and Leaf's translation of the Iliad.

On the Judgment of Paris: George Peele, Arraignment of Paris; James Beattie, Judgment of Paris; Tennyson, Dream of Fair women; J. S. Blackie, Judgment of Paris. See, for allusions, Shakespeare, All's Well 1:2; 1:3; Hen. V. 2: 4; Troil. and Cressida I: 1; 2: 2; 3: 1; Rom. and Jul. 1:2; 2:4; 4:1; 5:3 On Helen: A. Lang, Helen of Troy, and his translation of Theocritus XVIII.; Landor, Menelaüs and Helen; G. P. Lathrop, Helen at the Loom (Atlantic Monthly, Vol. 32, 1873). See Shakespeare, M. N. Dream 1:1; 3:2; 4: 1; All's Well 1:1; 1:3; 2:2; Rom. and Jul. 2:4; Troil. and Cressida 2:2; Marlowe, Faustus (Helen appears before Faust).

In Art. Homer: the sketch by Raphael (in the Museum, Venice). Paintings: Sir Frederick Leighton, Helen of Troy; Paris and Helen, by David; The Judgment of Paris, by Rubens; by Watteau. Sculpture: Canova's Paris. Crayons: D. G. Rossetti's Helen.

Iphigenia and Agamemnon: On pp. 288 and 311, in accordance with Goethe's practice, the name Tauris is given to the land of the Tauri. To be correct one should say, "Iphigenia among the Tauri," or "Taurians." (See Index.) Iphigenia and Agamemnon by W. S. Landor; also his Shades of Agamemnon and Iphigenia; Dryden, Cymon and Iphigenia; Richard Garnett, Iphigenia in Delphi; Sir Edwin Arnold, Iphigenia; W. B. Scott, Iphigenia at Aulis. Any translations of Goethe's Iphigenia in Tauris, and of Euripides' Iphigenia in Aulis and Among the Tauri; also of Eschylus' Agamemnon:

such as those by Milman, Anna Swanwick, Plumptre, E. A. Morshead, J. S. Blackie, E. Fitzgerald, and Robert Browning. For Agamemnon, see Shakespeare, Troil. and Cressida 1:3; 2:1; 2:3; 3:3; 4:5; 5:1; and James Thomson, Agamemnon (a drama). The Troïlus and Cressida story is not found in Greek and Latin classics. Shakespeare follows Chaucer's Troilus and Creseide, which is based upon the Filostrato of Boccaccio. On Menelaüs, see notes to Helen and Agamemnon.

-

In Art. Iphigenia (paintings): E. Hübner; William Kaulbach; E. Teschendorff.

§ 168. Achilles. — Chaucer, H. of F. 398; Dethe of Blaunche 329; Landor, Peleus and Thetis; Sir Theodore Martin, translation of Catullus LXIV.; Translation by C. M. Gayley as quoted in text, § 165 a. See also Shakespeare, Troil. and Cressida; 2 Hen. VI. 5: 1; Love's L. L. 5:2; Milton, P. L. 9: 15. In Art. — Flaxman, Fight for the Body of Patroclus; Wiertz (Wiertz Museum, Brussels), Fight for the Body of Achilles. Pompeian wall-paintings: Chiron and Achilles, Achilles carried from Scyros, Achilles bereft of Briseïs; the Feast of Peleus, by Burne-Jones (picture).

Ajax. — Plumptre, Ajax of Sophocles. Shakespeare, Troil. and Cressida; Love's L. L. 4:3; 5:2; Taming of Shrew 3: 1; Ant. and Cleo. 4:2; Lear 2:2; Cymbel. 4:2; George Crabbe, The Village.

In Art. The ancient sculpture, Ajax (or Menelaus) of the Vatican. Modern sculpture, The Ajax of Canova. Flaxman's outline drawings for the Iliad.

Hector and Andromache.

- Mrs. Browning, Hector and Andromache, a paraphrase of Homer; C. T. Brooks, Schiller's Parting of Hector and Andromache. See also Shakespeare, Troil. and Cressida; Love's L. L. 5:2; 2 Hen. IV. 2:4; Ant. and Cleo. 4: 8.

In Art. Hector, Ajax, Paris, Æneas, Patroclus, Teucer, etc., among the Ægina Marbles (Glyptothek, Munich); Flaxman's outline sketches of Hector dragged by Achilles, Priam supplicating Achilles, Hector's Funeral, Andromache fainting on the walls of Troy; Canova's (sculpture) Hector; Thorwaldsen's (relief) Hector and Andromache.

Priam and Hecuba. - The translations of Euripides' Hecuba and Troades; Shakespeare, Troil. and Cres.; Coriol. 1:3; Cymbel. 4:2; Hamlet 2:2; 2 Hen. IV. I:I.

§ 169. Polyxena. - W. S. Landor, The Espousals of Polyxena. Philoctetes: translation of Sophocles by Plumptre; Sonnet by Wordsworth; Drama by Lord de Tabley. Enone, see A. Lang's Helen of Troy; W. Morris, Death of Paris (Earthly Paradise); Landor, Corythos (son of Enone); the Death of Paris and Enone; Tennyson, Enone; also the Death of Enone, which is not so good.

The story of the death of Corythus, the son of Enone and Paris, at the hands of his father, who was jealous of Helen's tenderness toward the youth, is a later myth, but exquisitely pathetic.

Sinon.

5:3.

Shakespeare, 3 Hen. VI. 3:2; Cymbel. 3:4; Titus Andron.

Laocoon.-L. Morris, in the Epic of Hades. See Frothingham's translation of Lessing's Laocoön (a most important discussion of the Laocoon group and of principles of æsthetics). See also Swift's Description of a City Shower.

In Art. -The original of the celebrated group (statuary) of Laocoön and his children in the embrace of the serpents is in the Vatican in Rome.

§ 170. Cassandra. - Chaucer, Troïlus and Creseide; Dethe of Blaunche, 1246. Poems by W. M. Praed and D. G. Rossetti. See Troil, and Cressida 1:1; 2:2; 5: 3; Lord Lytton's translation of Schiller's Cassandra.

In Art. - The Cassandra of Dante Gabriel Rossetti (in ink). Orestes and Electra. - Translations of the Electra of Sophocles, the Libation-pourers and the Eumenides of Æschylus, by Plumptre; and of the Orestes and Electra of Euripides, by Wodhull. Lord de Tabley, Orestes (a drama); Byron, Childe Harold 4; Milton, sonnet, "The repeated air of sad Electra's poet," etc.

In Art. — Græco-Roman sculpture: Orestes and Pylades find Iphigenia among the Taurians; Pompeian Fresco; Orestes and Electra (Villa Ludovisi, Rome); Orestes and Electra (National Museum, Naples). Vase paintings: Orestes slaying Ægisthus; Orestes at Delphi; Purification of Orestes. Modern painting: Electra, by Teschendorff, by Siefert.

Clytemnestra, The Death of, by W. S. Landor; Clytemnestra, by L. Morris, in the Epic of Hades.

Troy: Byron, in his Bride of Abydos, thus describes the appearance of the deserted scene where once stood Troy:

"The winds are high, and Helle's tide

All

Rolls darkly heaving to the main;
And night's descending shadows hide
That field with blood bedewed in vain,
The desert of old Priam's pride,

The tombs, sole relics of his reign,

save immortal dreams that could beguile The blind old man of Scio's rocky isle."

On Troy the following references will be valuable: Acland, H. W., The Plains of Troy, 2 v. Lond.: 1839; Schliemann, H., Troy and its Remains, Lond. 1875; Ilios, Lond.: 1881; Troja, results of latest researches on the site of Homer's Troy, Lond.: 1882; Armstrong, W. J., Atlantic Mo. v. 33:173 (1874), Over Ilium and Ida; Jebb, R. C., Jour. Hellenic Studies v. 2:7, Homeric and Hellenic Ilium; Fortn. Rev., N. S. 35: 4331 (1884), Homeric Troy.

§ 171. The Odyssey: Lang, Sonnet, "As one that for a weary space has lain," prefixed to Butcher and Lang's Odyssey. Translations by W. Morris, G. H. Palmer, Chapman, Bryant, Pope. Ulysses: Tennyson; Landor, The Last of Ulysses. See also Shakespeare, Troil. and Cressida; 3 Hen. VI. 3:2; Coriol. 1:3; Milton, P. L. 2: 1019; Comus 637; R. Buchanan, Cloudland; Pope, Rape of Lock 4:182.

In Art. Ulysses giving Wine to Polyphemus, Escaping from the Cave, Summoning Tiresias, With the Sirens, in Monuments Inédits (Rome and Paris, 1839-1878); Meeting with Nausicaa (Gerhard's vase pictures); outline drawings of Ulysses weeping at the song of Demodocus, boring out the eye of Polyphemus, Ulysses killing the suitors, Mercury conducting the souls of the suitors, Ulysses and his dog, etc., by Flaxman.

Penelope Poems by R. Buchanan, E. C. Stedman, and W. S. Landor. In ancient sculpture, the Penelope in the Vatican. Modern painting by C. F. Marchal. In crayons by D. G. Rossetti.

Circe: M. Arnold, The Strayed Reveller; Hood, Lycus, the Centaur; D. G. Rossetti, The Wine of Circe; Saxe, The Spell of Circe. See Shake

speare, Com. Errors 5:1; 1 Hen. VI. 5:3; Milton, Comus 50, 153, 253, 522; Pope, Satire 8: 166; Cowper, Progress of Error; O. W. Holmes, Metrical Essay; Keats, Endymion, "I sue not for my happy crown again," etc.

On Sirens and Scylla see §§ 52-54 C; S. Daniel, Ulysses and the Siren; Lowell, The Sirens. Scylla and Charybdis have become proverbial to denote opposite dangers besetting one's course.

Calypso: Pope, Moral Essays 2:45; poem by Edgar Fawcett (Putnam's Mag. 14, 1869). Fénelon, in his romance of Telemachus, has given us the adventures of the son of Ulysses in search of his father. Among other places which he visited, following on his father's footsteps, was Calypso's isle; as in the former case, the goddess tried every art to keep the youth with her, and offered to share her immortality with him. But Minerva, who, in the shape of Mentor, accompanied him and governed all his movements, made him repel her allurements. Finally when no other means of escape could be found, the two friends leaped from a cliff into the sea, and swam to a vessel which lay becalmed off shore. Byron alludes to this leap of Telemachus and Mentor in the stanza of Childe Harold beginning, "But not in silence pass Calypso's isles," 2:29. Calypso's isle is said to be Goza.

In Art. - Circe and the Companions of Ulysses, a painting by Briton Rivière. Circe, in crayons; Siren, in crayons; Sea-Spell, in oil, D. G. Rossetti. § 172. Homer's description of the ships of the Phæacians has been thought to look like an anticipation of the wonders of modern steam navigation. See the address of Alcinoüs to Ulysses, promising "wondrous ships, self-moved, instinct with mind," etc., Od. Bk. 8.

Lord Carlisle, in his Diary in the Turkish and Greek Waters, thus speaks of Corfu, which he considers to be the ancient Phæacian island:

"The sites explain the Odyssey. The temple of the sea-god could not have been more fitly placed, upon a grassy platform of the most elastic turf, on the brow of a crag commanding harbor, and channel, and ocean. Just at the entrance of the inner harbor there is a picturesque rock with a small convent perched upon it, which by one legend is the transformed pinnace of Ulysses. "Almost the only river in the island is just at the proper distance from the probable site of the city and palace of the king, to justify the princess Nausicaa having had resort to her chariot and to luncheon when she went with the maidens of the court to wash their garments."

"Roman Vergil, thou that singest Eneas and Anchises: Chaucer,

§ 174. Poem, Tennyson, To Vergil, Ilion's lofty temples, robed in fire," etc. H. of F. 165; 140-470 (Pictures of Troy); Shakespeare, Troil. and Cressida; Tempest, 2:1; 2 Hen. VI. 5: 2; Jul. Cæs. 1: 2; Ant. and Cleo. 4:2; Hamlet 2:2; Waller, Panegyric to the Lord Protector (The Stilling of Neptune's Storm).